Mystics

"It is alone that part of the external universe which we call material which acts on man through his senses — that part of which we ordinarily feel our knowledge to be the surest; but in reality, strangely enough, as will soon appear, this is one of the aspects of the external world, of which we can know nothing."

"I dedicate this book to the man who inspired it — to the man who of all men past and present that I have known has the most exalted moral nature — to Walt Whitman."

"All things, man included, are parts of one great whole. The object of this chapter is to point out the most obvious and most natural divisions of this whole, which we call the universe. These divisions can never be absolute; the whole is too truly one whole for that, but they are sufficiently real for our present purpose."

"Man reacts upon and toward the external universe in three ways, namely, by his active nature ; by his intellectual nature ; by his moral nature — that is, he acts upon it, thinks about it, and feels toward it."

"[W]e live in a century in which everything has been said. The challenge today is to learn which statements to deny."

"I had a happy, idyllic, old-fashioned childhood. Go to the town where I spent that childhood, you will not find my happy hours there. Yet they remain definite constituents of a divine reality about which true statements can still be made. My happy childhood was a gift my parents and the world offered to God."

"Hitler made it impossible to keep believing in pacifism, which was one of the many terrible things he did to the world."

"Too many intellectuals look down on religion and think it will go away. God is not going to go away. There are far more religious people in the world today than when I was born."

"What we need is to make a renewed attempt to worship the objective of God, not our forefathers' doctrines about him."

"Musicians who have listened to birds believe [that birds derive pleasure from singing] much more than ornithologists, who are terrified of being accused of anthropomorphism... Having studied thousands of hours of birdsong from around the world, I am convinced some species possess an aesthetic sense, however limited compared to ours. It is part of human egotism to believe that only we have active minds."

"The world has too many automobiles and televisions. Now the standard is there should be one car and TV for every person. This is not healthy for the environment or our souls."

"In all countries and in all historical times there have been individuals to whom multitudes have looked for guidance in religion. Buddha, Lao Tse, Confucius, Moses, Zoroaster, Shankara, Jesus, Muhammed, Joseph Smith, and Mary Baker Eddy were such individuals. New examples are to be found within the lives of many of us. Pure democracy or sheer equalitarianism in religious matters is not to be expected of our human nature. Some distinction between leaders or founders and followers or disciples seems to be our destiny. But there is a question of degree, or of qualification. To what extent, or under what conditions, are some individuals, or perhaps is some unique individual, worthy of trust in religious matters? It is in the answer to this question that mistakes can be made."

"[T]he traditional idea of divine perfection or infinity is hopelessly unclear or ambiguous and that persisting in that tradition is bound to cause increasing skepticism, confusion, and human suffering. It has long bred, and must evermore breed, atheism as a natural reaction."

"The idea of revelation is the idea of special knowledge of God, or of religious truth, possessed by some people and transmitted by them to others. In some form or other the idea is reasonable. In all other matters people differ in their degree of skill or insight. Why not in religion?"

"The reward for living is the living itself."

"These distinctions make sense only when AR [absolute perfection in some respects, relative perfection in all others] is assumed (hence Spinoza's failure, who assumed mere A). Just as AR is the whole positive content of perfection, so CW, or the conception of the Creator-and-the-Whole-of-what-he-has-created as constituting one life, the super-whole which in its everlasting essence is uncreated (and does not necessitate just the parts which the whole has) but in its de facto concreteness is created – this panentheistic doctrine contains all of deism and pandeism except their arbitrary negations. Thus ARCW, or absolute-relative panentheism, is the one doctrine that really states the whole of what all theists, if not all atheists as well, are implicitly talking about."

"No one in my family disbelieved in religion, and no one disbelieved in evolution, either."

"In Plato’s Republic one finds the proposition: God, being perfect, cannot change (not for the better, since "perfect" means that there can be no better; not for the worse, since ability to change for the worse, to decay, degenerate, or become corrupt, is a weakness, an imperfection). The argument may seem cogent, but it is so only if two assumptions are valid: that it is possible to conceive of a meaning for "perfect" that excludes change in any and every respect and that we must conceive God as perfect in just this sense."

"Do you remember which way I was heading?"

"The secret of my success is longevity."

"I think my great book is Born to Sing: An Interpretation and World Survey of Bird Song."

"All things, in all their aspects, consist exclusively of 'souls', that is, of various kinds of subjects, or units of experiencing, with their qualifications, relations, and groupings, or communities."

"the search for necessary truths, truths that are not only true, but they couldn’t have been false."

"Speculative Philosophy is the endeavour to frame a coherent, logical, necessary system of general ideas in terms of which every element of our experience can be interpreted. By this notion of 'interpretation' I mean that everything of which we are conscious, as enjoyed, perceived, willed, or thought, shall have the character of a particular instance of the general scheme."

"God thus excludes the world; he is only its cause; in no sense is he effect, of himself or anything else. Pantheism (better, "pandeism," for again it is not really the theos that is described) means that God is the integral totality of ordinary cause-effects, and that there, is no super-cause independent of ordinary causes and effects."

"My ultimate intuitive clue in philosophy is that "God is love" and that the idea of God is definable as that of the being worthy to be loved with all one’s heart, mind, soul, and entire being."

"God thus includes the world; he is, in fact, the totality of world parts, which are indifferently causes and effects. Now AR [absolute perfection in some respects, relative perfection in all others] is equally far from either of these doctrines; thanks to its two-aspect view of God, it is able consistently to embrace all that is positive in either deism or pandeism. AR means that God is, in one aspect of himself, the integral totality of all ordinary causes and effects, but that in another aspect, his essence (which is A), he is conceivable in abstraction from any one or any group of particular, contingent beings (though not from the requirement and the power always to provide himself with some particulars or other, sufficient to constitute in their integrated totality the R aspect of himself at the given moment)."

"Knowledge is not a passion from without the mind, but an active exertion of the inward strength, vigour and power of the mind, displaying itself from within."

"Truth is the most unbending and uncompliable, the most necessary, firm, immutable, and adamantine thing in the world."

"If intellection and knowledge were mere passion from without, or the bare reception of extraneous and adventitious forms, then no reason could be given at all why a mirror or looking-glass should not understand; whereas it cannot so much as sensibly perceive those images which it receives and reflects to us."

"The best assurance any one can have of his interest in God, is doubtless the conformity of his soul to Him. When our heart is once turned into a conformity with the mind of God. when we feel our will conformed to His will, we shall then presently perceive a spirit of adoption within ourselves, teaching us to say, "Abba, Father.""

"The true knowledge or science which exists nowhere but in the mind itself, has no other entity at all besides intelligibility; and therefore whatsoever is clearly intelligible, is absolutely true."

"Friedrich's written commentary on aesthetics was limited to a collection of aphorisms set down in 1830, in which he explained the need for the artist to match natural observation with an introspective scrutiny of his own personality."

"The isolation of Friedrich's back-view figures [in his pictures] underscores their importance. They are alone, solitary, in pairs or in a small group, in a natural setting. They are aliens in the elementary coordinate system of nature. One always feels that they have only just now entered the painting, to pause for a long moment and then go on."

"Friedrich is recognized today as the supreme German painter of the Romantic era, but in his own time his genius was not so widely acknowledged. This was not because the aims of his art were foreign to the interests of his generation. On the contrary, his allusions to the spiritual in nature, his close study of the local landscape, and his emphasis on the need for inspiration were all commonplace preoccupations of the period. His art was undervalued because it explored these areas with a new uncompromising vision that was too personal and original to be easily grasped."

"It is significant, as William Vaughan remarks in his introduction to Borsch-Supan's catalogue, that churches never appear in Friedrich's work except in the distance, as unreal visions, or as ruins. The visible Church is dead, only the invisible Church, in the heart or revealed through Nature, is alive. This is part of Friedrich's Pietist heritage, a personal religion that refuses all outward forms, all doctrine. To put a landscape on an altar is an aggressive act, as destructive of the old forms as it is creative of a new sensibility."

"Whenever a storm with thunder and lightning moved over the sea, he would hurry out to the top of the cliffs as if he had a pact of friendship with the forces of nature, or even went on into the oakwood where the lightning had split a tall tree from top to bottom, which led him to murmur: 'How great, how mighty, how wonderful!' Thus a friend remembered the wanderings of Caspar David Friedrich as a young painter on the Baltic island of Rugen in 1802. It was Friedrich's favorite posture: Homo romanticus out in the weather, saluting the crag."

"He never made the obligatory journey south to study in Rome; his subject matter was the foggy and precipitous vista, sublimely expansive and filled with premonitory brooding. The writer Ludwig Tieck believed Friedrich was the Nordic genius incarnate, whose mission was "to express and suggest most sensitively the solemn sadness and religious stimulus which seem recently to be reviving our German world in a strange way." Friedrich's work, the Dresden painter Ludwig Richter remarked in 1825, does not deal with "the spirit and importance of nature.. ..Friedrich chains us to an abstract idea, using the forms of nature in a purely allegorical manner, as signs and hieroglyphs.""

"How does Friedrich persuade us, again and again, that we are at the very edge of the natural world, ready at last to immerse ourselves in something that, for want of a better word, must be called the supernatural – a domain of the mystical speculation about human life and afterlife that before the Romantics found a proper home in the church?"

"The revolutionaire and seaport scenes of Lorrain [French painter Claude Lorrain, strongly admired by Friedrich] contain many artistic principles which form an important part of Friedrich’s style: melting distances where water and sky merge as one, the portrayal of a dreamlike unreal world beyond, seascapes in which early morning light dissolves into mist which engulfs ships that appear as mysterious aspparations, magically floating in fluid ether. The assumtion that Friedrich is an isolated figure in the history of art is not correct."

"Friedrich, with his somewhat stiff and diffuse but highly poetic manner, was the first artist — in painting as a whole, but more especially in landscape painting — who ever assailed and shook up the philistines of Dresden. There had been a great stir when one of his paintings, a crucifix on a rock beneath dark fir trees and against the dying glow of an evening sky, had given rise to a literary controversy conducted on Friedrich's behalf by his friend Gerhard von Kügelchen [Kügelgen] and on the opposing side by a prosaic dilettante, a certain Herr von Ramdohr — to the latter's eventual discomfiture."

"He [Friedrich] was indeed a strange mixture of temperament, his moods ranging from the gravest seriousness to the gayest humor.. ..But anyone who knew only this side of Friedrich's personality, namely his deep melancholic seriousness, only knew half the man. I have met few people who have such a gift for telling jokes and such a sense of fun as he did, providing that he was in the company of people he liked."

"This picture [ 'Man and Woman contemplating the Moon',] full of sentiment and the quietness of nature, was painted by Friedrich in 1819 and he gave it to me in exchange for one of my own works. Friedrich had to copy it several times, but he did not approve of this, hence others copied it as well. Only the deserved destination for the picture, the Royal Picture Gallery, could convince me to part with it."

"Here is a man who has discovered the tragedy of landscape."

"What a picture of death this landscape is!.. ..one shudders when looking at it."

"[Friedrich] worked in the frigid technique of his time, which could hardly inspire a school of modern painting.."

"To see any of Friedrich's paintings as simply nationalist is, however, mistaken. His paintings are not celebrations of German mysticism so much as examinations of it. Friedrich uses the emptiness of the Baltic shore and the Thuringian forest to suggest the hubris of empire. He is not the prophet of German territorial ambition but its satirist. Friedrich's theme is the unconquerability of space. Human beings are tiny interlopers in a world they can never hope to rule. He exposes authority - of the monarchical states, Prussia and the rest, from which German liberals felt so alienated."

"Artists and connoisseurs saw in Friedrich's art only a kind of mystic, because they themselves were only looking out for the mystic.. ..They did not see Friedrich's faithful and conscientious study of nature in everything he represented."

"[Friedrich] ignores the use of light [and] does not strive to adjust his colors to one another or to create a harmony.. ..[but his pictures were] thought-out inventions.."

"We visited Friedrich's atelier today. Listening to him and seeing his paintings was wonderful. He has some bonhomie which pleases people and his paintings reveal his romantic imagination. As a rule, he expresses in them one thought or feeling, though vaguely. You may meditate over his paintings but not have a clear understanding of them, for they are vague even in his soul. They are dreams or daydreams. He often employs very simple natural things, such as an ice block floating on sea waves, a few trees in a dale, window of his room (facing the beautiful Elbe), knight meditating over ruins or tombstones, monk staring into the distance or below his feet: all this captivates your soul, plunges you into dreams, all invokes your imagination, powerfully though vaguely."